Mail – Transportation and Delivery is one of a series of nine murals in the U.S. Courthouse and Post Office painted by Indianapolis artist Grant Christian in 1936, with funding from the Treasury Relief Art Project. The mural consists of 7 oil on canvas panels.
In 1934, U.S. Secretary of the Treasury Henry Morgenthau, Jr. established the Section of Painting and Sculpture with the goals of providing decoration for public buildings to increase public exposure to art and to provide financial relief for Depression-era artists. The Section’s head, Edward Bruce, considered post offices to be ideal locations for art, since they were accessible and widely visited. The Treasury Relief Art Program (TRAP), affiliated with the Works Progress Administration, was part of this initiative. A national program of murals in post offices was commissioned with the requirement that, if possible, murals were to be painted by residents of the state in which the mural appeared. In Indiana, 37 murals were commissioned from mostly unknown artists.
Under TRAP, Indianapolis artist Grant Christian in 1936 painted a series of nine murals for the U.S. Courthouse and Post Office in Indianapolis (now the Birch Bayh Federal Building and U.S. Courthouse). This mural, located in the southwest corner of the third floor on the south wall, is one of them. Christian was 24-years-old and a recent graduate of the John Herron Art Institute (now the Herron School of Art & Design) when he was commissioned after winning a competition.
From left to right, the individual panels are titled “The Capital’s First Railroad,” “Transportation and Communication,” and “Industry and Legislation.” The last panel shows Indiana Governor Paul V. McNutt (with document) and Indianapolis Mayor John W. Kern (behind the Governor) who were in office when Mr. Christian painted the murals. At the upper right of this panel, over the sleek modern train, is a depiction of the Indiana State House dome.
Photo, text, and permission credit: U.S. General Services Administration, Public Buildings Service, Fine Arts Collection

The Department of Public Words (Megan Jefferson, Dave Combs, and Holly Combs) worked for six weeks during the summer of 2016 with youth from the TeenWorks summer jobs program to create this mural.
According to the artists, “We spread positivity and encouragement by painting uplifting murals. This colorful mural is no exception. Bright colors and positive messages help brighten the neighborhood of Maple Crossing.”

The message “You Have Company” on this mural refers to the often-invisible challenge of mental illness, which seems isolating to those suffering from mental health issues. Simply knowing that others are similarly challenged can help people cope successfully.
Seattle-based cartoonist Ellen Forney, herself diagnosed with bipolar disorder, based the mural design on elements of her 2012 graphic-nonfiction memoir Marbles: Mania, Depression, Michelangelo, and Me, where she finds inspiration from the lives and work of other artists and writers who suffered from mood disorders. The mural was laid out and supervised by the local Indianapolis public art team Department of Public Words, and portions of the mural were painted by community participants.
This mural, and the sale of green ribbons at participating Jiffy Lube locations throughout Indiana, supports the Indiana state chapter of the National Alliance on Mental Illness (NAMI) and their work to build better lives for those affected by mental illness.

This mural is a portrait of Marguerite Young (1908-1995) an Indianapolis-born poet and novelist best known for her massive novel Miss MacIntosh, My Darling (1965), which is often compared in scope and impact to James Joyce’s Ulysses. In the mural, the novelist is pictured as drinking from a mug from which a rainbow is spilling. The original photograph from which the mural is modeled was taken c. 1948, around the same time she started writing Miss MacIntosh.
The mural is painted on the side of the Tube Factory ArtSpace, the home of Big Car Collaborative, a non-profit art and design organization whose mission is to unify people through art. It was created during an informal artist’s residency in Indianapolis in the summer of 2019.
Jules Muck, aka MuckRock, is a street artist from England who learned her craft in the 1990s from Lady Pink and many other legends of graffiti and hip-hop culture. After working extensively in New York, she moved to Venice, California in 2008. She currently works nationally and internationally, with major works in various locations including Miami’s famous Wynwood district, produced with Art Basel Miami. MuckRock’s street works are both invited and unsanctioned, and she has created work for gallery exhibitions.

This mural depicts the world-renowned poet, author and playwright Mari Evans (1923- ), who moved to Indianapolis in 1947 and spent the bulk of her writing career here. Evans is known as one of the inspirations and leading lights of the Black Arts movement of the 1960s and 1970s, which sought to create a signature African-American aesthetic and perspective and infuse it into contemporary literature, visual arts, music and theater.
Evans’ work talks about the actions and ideals of the Civil Rights Movement and about celebrating of Africa both as a place and a concept, as well as her personal experiences as a Black woman. Her catalogue includes include hundreds of poems, essays, articles, plays, criticism, fiction stories and even children’s books. She is probably best known for her poems “Celebration” and “I Am A Black Woman,” and for her original musical “Eyes,” which adapted Zora Neale Hurston’s book Their Eyes were Watching God for the stage. Her contributions to Black history, women’s history, and the history of the 20th century are becoming more apparent as Evans enters the canon of American literature. She has been included in over 400 literary anthologies and in 2015 she received an Indiana Authors Lifetime Achievement Award from the Indianapolis-Marion County Public Library Foundation, only the second one ever given.
The mural’s artist, Michael “Alkemi” Jordan, is an Indianapolis resident and native. He has painted murals, portraits, and abstract compositions professionally since the 1970s, and has been writing poetry since the age of seven. Jordan has exhibited his work locally at Indiana Black Expo, the Crispus Attucks African American Museum, the annual “Meet the Artist” exhibition at the Central Library, and at the Indianapolis Museum of Contemporary Art. He is a member of the local Black artist group “I Am/We Are”.
The mural project was curated by Big Car Collaborative and was created with the Riley Area Development Corporation and support from the Indiana Arts Commission, as part of the Indiana Bicentennial Celebration, and The Efroymson Family Fund.

The Holy Cross Neighborhood Association, in partnership with Cummins and Arsenal Tech, worked to paint several traffic signal boxes in the Holy Cross area.
Twelve Arsenal Tech art students worked with their teacher, Lacey Banuelos, to develop and realize their original designs during a two-day traffic signal box paint-out with the assistance of Holy Cross volunteers.
Photos courtesy of Holy Cross Neighborhood Association

April 4, 2018 was the 50th anniversary of a speech given by Robert F. Kennedy at a small park on the near Northside of Indianapolis. Kennedy, then a candidate for President in the 1968 election, was in town and was scheduled to speak in the urban park, but immediately before he was to go on he was notified of the hours-old assassination of noted civil rights activist Dr. Martin Luther King, Jr. Kennedy changed his planned remarks, and announced the assassination to the largely African American crowd; he followed the announcement with inspiring words urging the crowd to practice love, compassion, peace, and forgiveness towards one another. Just over two months later, Kennedy himself would be assassinated. Still later, the park was renamed Martin Luther King Jr. Park.
To mark the anniversary, the Kennedy King Memorial Initiative commissioned a plaque and a set of two large banners. The Indiana Historical Society designed and produced the banners, which portray King, Kennedy, and the crowd of local residents who had gathered on that historic day. Also in 2018, just days before the anniversary celebration, the spot where Kennedy made his speech (immediately adjacent to the banners) was designated a National Historic Site.

The back entrance to Mass Ave Knits, in Fountain Square, is enlivened by a bright mural of abstract plants created by Indianapolis artist Teri Barnett. The whimsical nature of this “garden” pairs nicely with the real gardens seen just across the parking lot, belonging to the neighborhood’s modest homes.
Born in Southeastern Michigan, Teri takes her inspiration from the lakes and landscapes of her home state and from quilt makers, both in her family and beyond. She often uses a minimalist approach in her paintings, depicting images at their most basic expressions of shape, color, and texture. The visual tension of rocky lake beds against sandy shores, man-made structures, and bright colored flowers figure prominently in her work.

This project began with an interest in challenging the typical notion of the parking structure as an unappreciated infrastructural typology by transforming the new Eskenazi Hospital parking structure into a binary, synthetic terrain. During the design process, an interest in camouflage evolved into an approach that would create a very large dynamic, interactive element for the City. Rather than an actively kinetic approach, with all of the inevitable maintenance and longevity concerns that accompany those types of project, we were instead working towards an approach that capitalizes on the fact that most viewers would, themselves, be moving on bicycles or in automobiles. Thus, the design ultimately became something that offers a degree a variability of color and form as one passes by the project. The awareness of this, interestingly enough, occurs whether someone is directly watching or even just seeing it out of their periphery of vision
The effect of a field of 7,000 angled metal panels in conjunction with an articulated east/west color strategy creates a dynamic façade system that offers observers a unique visual experience depending on their vantage point and the pace at which they are moving through the site. In this way, pedestrians and slow moving vehicles within close proximity to the hospital will experience a noticeable, dappled shift in color and transparency as they move across the hospital grounds, while motorists driving along W. Michigan Street will experience a faster, gradient color shift which changes depending on their direction of travel.
To facilitate the effect, a total of 18 different panels sizes/angles are used throughout. They range from 300mm tall x 600mm long to 300mm tall x 1m long. There approximately 7,000 of these panels. The color scheme is quite simple as the west side received a deep blue color, while the east side receives a golden yellow color. The angles, alone, create the illusion of different hues.

Dedicated on December 14, 2014, Mayor Bill is a significant sculpture representing Hon. William H. Hudnut III, former Mayor of Indianapolis, who served the Indianapolis community from 1976 – 1992. As a four-term mayor, Bill Hudnut was responsible for the formation of a public-private sector partnership that led to Indianapolis’s emergence during the 1980’s as a major American city. He was actively involved in private sector developments such as the $300M Circle Centre downtown retail/entertainment complex, the negotiations to bring the Baltimore Colts to Indianapolis, the construction of the 36-story American United Life building, and numerous sports venues downtown. Bill was a clergyman at Second Presbyterian Church; served as the 11th Congressional District U.S. Congressman; and most recently completed his service as a Senior Fellow (Emeritus) at The Urban Land Institute (ULI) in Washington, D.C. Bill has received many awards, including Princeton University’s highest alumni honor, the Woodrow Wilson Award for public service (1986); City and State magazine’s “Nation’s Most Valuable Public Official (1988); the Rosa Parks Award from the American Association for Affirmative Action (1992); and the Distinguished Public Service Award for the Indiana Association of Cities and Towns (1985). He has received honorary degrees from thirteen universities and colleges.

The McCord Park sundial is dedicated to a local police officer, William Whitfield, 37, who was the first African American police officer killed in the line of duty in Indianapolis. There is speculation that the shooting was racially motivated and not a random act of violence, since Officer Whitfield had only recently been assigned to work the white neighborhood around College and Fairfield in plainclothes–the first-ever black officer to do so. His death remained virtually unpublished at the time, and he was buried in an unmarked grave at Crown Hill Cemetery. The case remains unsolved to this day.
The shooting took place shortly after 11:00 p.m. on June 18, 1922, in an alley just west of 3600 N. College Ave. Officer Whitfield said a man who was roughly dressed approached him. The officer called to the man and informed him that he was a policeman, pulling back his coat to display his badge. When ordered to stop, the man ran. Officer Whitfield pursued on foot. After running only a short distance, the man turned, pulled a revolver and fired. Officer Whitfield returned fire, but the suspect fled and disappeared, leaving the officer down, struck by a bullet in the abdomen. After calling for help, a passerby volunteered to take him to the hospital. He lingered for 21 weeks, finally succumbing to his injuries on November 27, 1922. The officer had been with the police department since 1910 and had an exceptionally good record, and prior to his transfer had patrolled the Indiana Avenue corridor.
In August 1998, a write-up of the circumstances of Officer Whitfield’s death and burial appeared in an IPD newsletter. Inspired by the article, members of the police department established a fund to buy a grave marker for the fallen officer. It took only three hours to raise the monies needed for the purchase. On November 30, 1998, full honors were given Officer Whitfield in a tribute at Crown Hill Cemetery where the gravestone was dedicated.
In 2002 Leon Bates, a longtime resident of the Watson-McCord neighborhood, launched an effort to memorialize Officer Whitfield at Watson-McCord Park, near the site of the shooting. Bates had dedicated years to researching the shooting. The sundial was designed by Expo Design, with its ceramic tiles made by Barbara Zech, a local clay artist, leading students from a nearby IPS school. The tiles have the theme of “home” and “community.” The park renovations were headed by Keep Indianapolis Beautiful.

MEET & GREET, formerly exhibited in White River State Park, is one of a series of sculptures that artist Leslie (Les) Bruning refers to as “street conservations.” Bruning believes that, in a civil society, we need to talk to each other in an open and friendly way if we are to co-exist peacefully. In this sculpture, the faces come face-to-face with each other as the interactive cranks are manually turned. This artwork demands participation to create the daily activity of facing our fellow citizens, and the turning of the cranks will also trigger a sound track of four short sentences that will be repeated each time the crank restarts. The sentences are: Effort has its rewards. Rewards give us pleasure. Pleasure wins us friends. Friends make life rewarding.
Les Bruning is an accomplished and nationally recognized sculpture artist, specializing in metal casting and welding. Born in Syracuse, KS and raised in Nebraska, Bruning received a BA Degree in Art from Nebraska Wesleyan University in 1970 and earned an MFA Degree in Sculpture from Syracuse University in 1972. He is also a founding member and partner in the Hot Shops Art Center, the owner of Bruning Sculpture, Inc., and a founding member of the Omaha Creative Institute. As an active participant, advocate, and organizer of public art projects, Bruning was a member of the J. Doe Project, created the J. Doe form, was a participant in Chicago’s Navy Pier exhibitions as well as Omaha’s 0! Art Project and several other projects.
For more information, see: http://www.inwhiteriver.com/
For more information on the artist, see: http://bruningsculpture.com/

Mega-Gem, owned by the Indianapolis Museum of Art but lent to Indiana University/Purdue University at Indianapolis, represents an oversized, faceted gemstone with several “rosette” gems of various colors inserted into the facets. The sculpture was part of a gemstone series done by the artist that played with the idea of the preciousness of art, in which he created the form associated with something valuable in materials that were more ordinary.
The sculpture first appeared at the Chicago International Art Exposition at Navy Pier in 1989, exhibited by the Carl Solway Gallery of Cincinnati, and remained there until 1994 when it was loaned by the gallery to the Indianapolis Museum of Art for three years. In 1997, the museum’s Contemporary Art Society raised funds to purchase it. It was moved to the IUPUI campus in 2009 for safekeeping during the construction of the museum’s 100 Acres (the Virginia B. Fairbanks Art & Nature Park), one of four sculptures owned by the museum to be relocated on campus.
The artist, John Torreano (b. 1941), was born in Flint, Michigan. He attended the Cranbrook Academy of Art and then Ohio State University, where he received his M.F.A. Torreano has worked in a variety of mediums and methods including paint, sculpture, relief, furniture and hand-blown glass. As of 2016, he is the director of the MFA program at New York University and a professor of studio art at NYU’s Steinhardt School. His work betrays an obsession with gemstones. Read more about his work at http://www.johntorreano.com/
Learn more about this artwork at https://en.wikipedia.org/wiki/Mega-Gem

Mercury and Two Allegorical Figures was carved by limestone sculptor Henry Saunders between 1896 and 1897. The sculpture was formerly located atop Indiana National Bank Building at the intersection of Virginia Avenue and South Pennsylvania from 1897-1970. The INB building was designed by August C. Bohlen, and was razed in 1970.
The sculpture features the figure of the Roman god Mercury, who often represents Commerce, with winged helmet and sandals crouched behind two seated female figures. The figure to his proper right, representing Industry, has a cogwheel beneath her proper right hand. The figure to his proper left has what appears to be a windlass (a winch used by ships to hoist anchors) at her proper left. The interpretation of this figure is ambiguous: she could represent either Trade or Exploration, both associated with commerce. Both seated figures are barefoot and wear draped gowns.
The limestone sculpture now sits on a concrete base in the plaza just north of Regions Tower at One Indiana Square.

The planting of this greenspace along the Cultural Trail in the Fletcher Place neighborhood was completed by Keep Indianapolis Beautiful, Inc., on November 16th, 2013, with the artwork installed in spring 2014.
The site provides a green backdrop for the Cultural Trail with trees for shade, sound insulation and seasonal interest. The greenspace enhances the Virginia streetscape for visitors, merchants and residents. The Merrill Street Platform serves as a seating element for the park, as well as a piece of sculpture. Its reclaimed cedar planks are oriented perpendicular to the trail, while reclaimed limestone curbs jut out vertically from the sloped deck at varying heights. The interesting form reflects the surrounding triangular park and provides a comfortable place to lie or sit on, play, and interact with.
Luur Design, based in Carmel, Indiana, operates under the direction of designer Chris Stuart. It is a multidisciplinary studio practicing in the areas of architecture, furniture design, product design, graphic design, and art. More information is available at http://www.luurdesign.com/work/

In 2015, the Metal Fingers Krew from Muncie, IN created this mural during the annual Subsurface Graffiti Expo.
Subsurface is an event that showcases mural and graffiti artists from all over America and beyond. Since 2002, artists have traveled to Indianapolis every Labor Day weekend to create work and build community. Subsurface seeks to advance the art form through beautifying and revitalizing the landscape of urban neighborhoods. Subsurface also seeks to raise social and cultural awareness and promote the arts as an institution of empowerment for all involved.

The Metal Fingers Krew (aka MFK) is an old-school graffiti writing team that combines standard and “piece” lettering with pop-culture imagery to create clean, distinctive works of art. This mural replaces an earlier composition on the same site and combines style-writing signatures with a hip-hop dog pointing out the krew’s names.

This mural emphasizing change into a better version of oneself appears on the walls of Horizon House, a homeless shelter and services provider, in collaboration with the Indiana chapter of the American Civil Liberties Union. The mural was painted during an informal artist’s residency in the summer of 2019.
Jules Muck, aka MuckRock, is a street artist from England who learned her craft in the 1990s from Lady Pink and many other legends of graffiti and hip-hop culture. After working extensively in New York, she moved to Venice, California in 2008. She currently works nationally and internationally, with major works in various locations including Miami’s famous Wynwood district, produced with Art Basel Miami. MuckRock’s street works are both invited and unsanctioned, and she has created work for gallery exhibitions.

The Holy Cross Neighborhood Association, in partnership with Cummins and Arsenal Tech, worked to paint several traffic signal boxes in the Holy Cross area.
Twelve Arsenal Tech art students worked with their teacher, Lacey Banuelos, to develop and realize their original designs during a two-day traffic signal box paint-out with the assistance of Holy Cross volunteers.
Photos courtesy of Holy Cross Neighborhood Association

The Holy Cross Neighborhood Association, in partnership with Cummins and Arsenal Tech, worked to paint several traffic signal boxes in the Holy Cross area.
Twelve Arsenal Tech art students worked with their teacher, Lacey Banuelos, to develop and realize their original designs during a two-day traffic signal box paint-out with the assistance of Holy Cross volunteers.
Photos courtesy of Holy Cross Neighborhood Association

The Holy Cross Neighborhood Association, in partnership with Cummins and Arsenal Tech, worked to paint several traffic signal boxes in the Holy Cross area.
Twelve Arsenal Tech art students worked with their teacher, Lacey Banuelos, to develop and realize their original designs during a two-day traffic signal box paint-out with the assistance of Holy Cross volunteers.
Photos courtesy of Holy Cross Neighborhood Association

The Holy Cross Neighborhood Association, in partnership with Cummins and Arsenal Tech, worked to paint several traffic signal boxes in the Holy Cross area.
Twelve Arsenal Tech art students worked with their teacher, Lacey Banuelos, to develop and realize their original designs during a two-day traffic signal box paint-out with the assistance of Holy Cross volunteers.
Photos courtesy of Holy Cross Neighborhood Association

The design of this traffic signal box is inspired by its location at 38th and Illinois, the point at which four distinct Indianapolis neighborhoods come together. Historical and crowdsourced photographs from all four neighborhoods wrap around the box, with original photography by William Rasdell filling in the gaps. The message is that Midtown is a vibrant part of the city, filled with people who love where they live.
William “Bill” Rasdell is an Indianapolis-based photographer and digital artist whose work focuses on exploring the impact of the African diasporic presence worldwide. He has photographed communities in (among others) Israel, Zimbabwe, Ghana, Cuba, Mexico, and Barbados as well as in the United States.

The design of this mural is inspired by the geometric shapes of farming barns, barn quilts, and the prairie-scapes that the artist grew up seeing around the Indiana countryside. According to the artist, farming is an essential element of what makes midwestern life what it is today and he wanted to honor it in this commissioned work for a very large wall. The inclusion of “317” and “Indianapolis” locates the landscape more specifically, and the text is what gives a street-art edge to the mural. The title of the piece refers to an early 20th century art movement championed by Russian artist Kazimir Malevich, that uses simple, flat geometric shapes and a limited color palette as a metaphor for spiritual purity.
Nick Smith is a multidisciplinary artist based in Indianapolis, specializing in abstracts and post-graffiti stylings. He also produces graffiti work under the name Sean Savant, in homage to his autistic brother.

The signature piece of artwork for White River Gardens is "Midwestern Panorama," a spectacular circular mural located in the Bud Schaefer Rotunda main entrance. Executed by Miami-based muralist Andrew Reid, this 360-degree depiction of gardening themes is one of the most impressive and important pieces of public art in the state. At nearly 160 feet long and 16 feet high, the main portion of this two-part mural offers visitors a truly dynamic first impression of the Gardens. Extremely colorful and extraordinary in impact, the mural shows a seamless transition of gardening activities and plants from winter through spring, summer, fall and back again. Above this section is an additional mural element that is 100 feet long and 10 feet high and depicts a wisteria vine dripping with flowers of the season. Special thanks to Bob and Cheryl Sparks for their generosity in funding this stunning piece of public art.
Quoted from www.indianapoliszoo.com/SitePages/WhiteRiverGardens/BudSchaeferRotunda.aspx

The Eiteljorg Museum of American Indians and Western Art partnered with Christel House Academy to bring art into this Near Southside neighborhood. A grant from the Christel DeHaan Family Foundation allowed the Eiteljorg to connect students at the Christel House Academy with Native American photographer and installation artist, Will Wilson (Diné), for a mural project that not only introduced students to art and indigenous cultures, but it also helped them give back to the Indianapolis community by beautifying a neighborhood building. As part of the project, Wilson talked to the students about Diné culture and the influence of his culture on his art.
Mihtohseenionki means “the people’s place” in the Miami language, referring to what local indigenous peoples (the Miami, Delaware, Potawatomi, and others) think of the Indiana region.
The students assisted Wilson in tracing and filling in the mural celebrating the Indians of Indiana. The mural, which was placed on a vacant building, was created in part of Christel House Academy’s efforts to bring a multicultural education to their students.
William (Will) Wilson is a Diné photographer who spent his formative years living in the Navajo Nation. Born in San Francisco in 1969, Wilson studied photography at the University of New Mexico (Dissertation Tracked MFA in Photography, 2002) and Oberlin College (BA, Studio Art and Art History, 1993). In 2007, Wilson won the Native American Fine Art Fellowship from the Eiteljorg Museum, and in 2010 was awarded a prestigious grant from the Joan Mitchell Foundation. Wilson has held visiting professorships at the Institute of American Indian Arts (1999-2000), Oberlin College (2000-01), and the University of Arizona (2006-08). From 2009 to 2011, Wilson managed the National Vision Project, a Ford Foundation funded initiative at the Museum of Contemporary Native Arts in Santa Fe, and helped to coordinate the New Mexico Arts Temporary Installations Made for the Environment (TIME) program on the Navajo Nation. Read more about Wilson at http://willwilson.photoshelter.com/index

Artist Jacque Hammonds worked with the Fishers Arts Council to paint two utility signal boxes in Fishers during the fall of 2016.
“I was really glad that the Fishers Arts Council approved the design for the Mille Bornes box. I thought it would be such an appropriate design, due to all of the traffic-centric imagery that is associated with the French Mille Bornes card game. And, because I remember this game as a kid, I wanted to use the 1962 edition for nostalgic reasons. To me, those old images of the traffic signals, the running duck, and the mile markers were iconic. One day, when I was painting on that box, a woman and her husband had stopped their car at the light. She jumped out of her car, and ran across Commercial Drive, saying how much she loved the design. She had also grown up with this game, but in France, and to see these images meant so much to her. Others stopped by and told me how much they loved that card game; they were so tickled to see it on the traffic signal box. When I worked on this box, Blaze Pizza had not been built yet. It was still the outskirts of the Target parking lot lined with trees and bushes. Recently, I drove by that box, and a grandfather and his grandson were looking at it and pointing at the duck and the tires. I’m glad that many people can enjoy it as much as I do.”

Millersville Marker dramatically enhances the Millersville section of the Fall Creek Trail, which the Millersville at Fall Creek Valley neighborhood adopted and improved since 2013. Millersville representatives expressed the desire to create a community space along the Fall Creek Trail where residents and visitors could relax and enjoy a natural setting in the heart of Indianapolis.
After their discussions with the Millersville neighborhood, artists Amy Brier and Sharon Fullingim found that residents frequently conveyed the importance of the incorporation of a mill wheel element: a nod to the area’s history. Limestone was selected as the material because it is the artists’ specialty. The artwork design recalls this history with the inclusion of partial mill wheel forms at the top of each of three adjacent upright pillars. A life-sized, three-dimensional, red-tailed hawk in cast bronze adorns the tallest upright to refer to the wildlife seen near the site. Each pillar also has one carved side and one side with the natural limestone face. The carved sides have detailed motifs featuring symbols of the area: birds, wheat, and the flowing water of Fall Creek. Each upright is “pierced” with shaped openings to allow light to flow through them.
Amy Brier lives in Bloomington, Indiana. She is a professional sculptor, trained in traditional carving techniques in Italy and with experience working on St. John the Divine Cathedral in New York City. She has executed many public sculptural projects in Indiana. Learn more about Brier at http://www.amybrier.com
Sharon Fullingim lives most of the year in Socorro, New Mexico, and is both a stone carver and bronze caster. She is a Signature Member of the Society of Animal Artists, and is the Director and lead carver for the Indiana Limestone Symposium held each summer in Ellettsville, IN. Learn more about Fullingim at http://www.fullingimstudio.net/
You can find out more about the Millersville at Fall Creek Preserve project here.

Don Gummer: Back Home Again is presented by the Central Indiana Community Foundation in honor of the 100th anniversary of The Indianapolis Foundation and in partnership with the Indianapolis Cultural Trail, Inc. This outdoor exhibition is located on the Indianapolis Cultural Trail and it features eight sculptures by Indianapolis-native, New York-based artist Don Gummer.
The artist, Don Gummer was born in Louisville, Kentucky in 1946. When he was seven years old Gummer and his family moved to Indianapolis, Indiana. As Gummer grew up in Indianapolis he attended Ben Davis High School where he demonstrated his artistic talent by winning local awards. Gummer attended Herron School of Art in Indianapolis before moving to Boston, Massachusetts to attend School of the Museum of Fine Arts. From Boston, he went on to Yale University in New Haven, Connecticut, where he completed both his Bachelor of Fine Art and his Masters of Fine Arts.
Gummer prefers that each individual bring their own interpretation to Minuteman and his other sculptures along the Cultural Trail.
Don Gummer: Back Home Again runs from August 31, 2016 to August 7, 2017.

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